BLACKBOARD SKETCHING 

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FREDERICK WHITNEY 


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MILTON BRADLEY COMPANY, 
SPRINGFIELD, MASS » 


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COPYRIGHT DEPOSIT. 











BLACKBOARD 

SKETCHING 


FREDERICK WHITNEY 

DIRECTOR 
OF ART 

STATE NORMAL SCHOOL 
SALEM, MASSACHUSETTS 



PUBLISHED BY 

MILTON BRADLEY COMPANY 
SPRINGFIELD, MASS. 

BOSTON NEW YORK PHILADELPHIA 
ATLANTA SAN FRANCISCO 

190 6 


























UBRARY of CONGRESS 
Two Cooies Roeaived 

AUG 18 190? 

Copyright Entry , 

Hoa 23/4O& 
CLASS A aXc.i No. 

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COPY B. 


Copyright, 1906 
By FREDERICK WHITNEY 


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Introduction 


A BILITY to draw easily and well on the blackboard is a 
power which every teacher of children covets. Such 
drawing is a language which never fails to hold attention 
and awaken delighted interests 

It has been considered impossible for most of us, because 
we have never done it. It has been strongly recommended, but 
no one has really shown us-how. 

A book like this which does show how, step by step from 
the first practice strokes to completed and effective sketches, 
will be everywhere welcome. No one can follow the plain 
suggestions given without appreciating the possibilities of chalk 
and charcoal for ordinary school-room illustration, and finding in 
himself a steady development of power to sketch on the black¬ 
board. 

The book is not the product of theories about drawing, but 
the fruit of long experiehce of one who has drawn with and for 
children and students and teachers, and has been more success¬ 
ful than any one I know in inspiring them by that means. I 
welcome the book and predict for it a potent influence for in¬ 
creasing and improving blackboard drawing throughout the 
schools of the land. 

Walter Sargent. 


North Scituate , Mass. 


Author’s Introduction 


This pamphlet of blackboard sketches and the accompanying 
text has been planned at the request of many teachers and pu¬ 
pils who desire lessons and suggestions along this line, but who 
are unable to secure personal instruction. 

In general, these requests have been for simple sketches 
dealing with the various lines of school work, and at the same 
time for strokes and explicit directions for using these in the 
drawings. For these reasons there are given upon nearly every 
plate the strokes of the chalk useful in producing the desired 
effect, and upon the opposite page such directions as are gener¬ 
ally given to the students in the classroom. 

A few of the lessons deal with the strokes and their applica¬ 
tion to the very simplest objects possible, but even these may 
be found useful as illustrative material. They are recommended 
in order that the teacher may become familiar with the medi¬ 
um, and with the simplest and the most direct manner of hand¬ 
ling it before attempting sketches which require a great variety 
of touches. I have tried to have the other sketches cover as 
great a variety of subjects as possible. 

Plates 3, 5, 8, io, n, 13, 14, 15, 16, 17, 18, 22, 23 and 29 
have been used with the little people in different forms of sto¬ 
ries, language and reading lessons. Plates 7, 8, 9, 10, 11, 18, 
27, 28 and 29 are suggested for geography lessons in various 
grades. 

Plates 8, 14, 15, 16, 17, 18, 27, 28 and 29 may be used 
in history lessons. Plates 1 and 3 have been used in primary 
number, and plates 27 and 28 for arithmetic, when the problems 
had to do with commission, measurement, etc., or when the 
problems referred to lumbering or manufacturing. Plates 4, 5, 
6, 11, 12, 13, 19, 20, 21, 22, 23, 24, 25, 27 and 28 will be found 
helpful in many lines of nature study, especially when the na¬ 
ture specimens are difficult to obtain. Plates 9, 24, 25 and 26 
illustrate the value of this line of drawing in the study of liter¬ 
ature ; and many of the other drawings may be used in a similar 



manner. The teacher who uses this type of illustrative sketch¬ 
ing will readily see how the drawings may be applied to 
other subjects, and other plates to the subjects already men¬ 
tioned. 

Teachers have occasionally asked for illustrations for the 
different months of the school year, something to use with 
calendars, or for suggestions for different holiday drawings. 
Among the sketches given on the plates will be found several 
suitable for the various months. For calendars I suggest 
discarding the plaided pumpkin for November, the num¬ 
bered bricks in a fireplace for December, the kite covered with 
numbered squares for March, etc., etc., and recommend in 
their place a regular numbered calendar with an appropriate 
sketch above or at one side. A drawing appropriate to the 
month will answer its purpose better than many of the deformi¬ 
ties so frequently seen in the schoolroom. See Plate 13, 
goldenrod. 

Although these sketches are recommended as illustrations 
for certain subjects, it is not intended that the teacher should 
merely copy these drawings, but that she should be able to 
make a great variety of sketches, to appropriate these strokes, 
enlarge upon them, and apply them in illustrations for the par¬ 
ticular subjects she is teaching ; and there are many subjects 
which require just this sort of expression on the part of the 
teacher 

“ Children are not all ears ; they take in more through the 
eyes than in any other way.” 

All teachers know this is true, and, this being the case, the 
blackboard is found indispensable, and it should be in constant 
use. 

A few moments now and then devoted to the practice of 
these strokes and blackboard lessons will enable the teacher 
better to express and emphasize certain facts, details, or inci¬ 
dents connected with a lesson ; better to hold the interest and 
attention of the class ; more readily to create an interest in 
drawing. She will thus, by example, lead the children to make 
the drawing a natural and spontaneous means of expression. 

P'rederick Whitney. 








BLACKBOARD SKETCHING 


PLATE 1 


For this first lesson I advise trying the simplest possible 
stroke,, and its application in the sketching o‘f very simple 
things. The stroke is a straight mark with the side of the. 
chalk. 

Take half or two-thirds of a stick of chalk, discarding the 
small end, and use such a piece in nearly all the lessons given. 
In this case place the chalk horizontally upon the board, and 
drag it gradually downward, keeping an even pressure upon the 
chalk. Try this in various directions. 

The oblique lines show what a variety of width may be ob¬ 
tained by changing the angle of the chalk. At i, the full 
length of the chalk is required to give the broad stroke desired. 
At Nos. 2, 3, 4 and 5, the line above the stroke indicates the 
angle at which the chalk is placed in order to give the width of 
the strokes below. The use of the chalk in this manner ena¬ 
bles one to obtain any desired width of line, without constantly 
changing the piece of chalk. A light or dark tone is produced 
by varying the pressure upon the chalk. 

In drawing the telegraph pole, draw first a delicate vertical 
stroke, then add the horizontal cross pieces with a stronger 
accent, and last the white strokes indicating thickness. 

In the case of the chicken coop, draw first the oblique slats, 
then with a stronger pressure upon the chalk, add the hori¬ 
zontal slats, and lastly, with the point of the chalk add the ac¬ 
cented bits of detail. 

Almost any simple object composed of straight lines may be 
drawn in this manner. 


I 



t 







BLACKBOARD SKETCHING 


PLATE 2 

The strokes upon this plate are more often used than any 
others which will be given in these lessons. These strokes are 
made by holding the chalk by one end rather than in the middle, 
and then by drawing in any direction desired, letting the pressure 
come at the end of the chalk, thus giving a graded stroke from 
side to side. For example, stroke i was made by taking about two- 
thirds of a stick of chalk, holding it by the left end, placing it 
horizontally upon the board, and then drawing downward, accent¬ 
ing a little with the left end of the chalk. Stroke 5 was made 
in the same manner, the chalk being held by the right end, and 
the pressure being also at that end. 

Practice these strokes in many directions, and then apply 
them to drawing some simple objects. On the plate the cylin¬ 
der, barrel, and canoe are illustrated to show the application of 
such simple marks. 

In the cylinder, strokes 1 and 5 are used for the left and 
right outlines ; then three curving strokes will finish the top and 
bottom. 

In sketching the barrel, use similar strokes, curving them a 
bit. Add curving strokes for the hoops, using a short piece of 
chalk; then add markings here and there with the point for 
details. 

The canoe is one long, nearly horizontal stroke accented at 
the upper end of the chalk. A few small touches similar to 
those at 3 will give the rocky shore, and a line or two with the 
point, the necessary details. 











BLACKBOARD SKETCHING 


PLATE 3 

The lesson planned at illustration 3 is useful in a number of 
school lessons in the lower grades. I have seen it used in 
teaching reading in the first grade. In this case, some word 
from the lesson was written upon each apple, and the children 
were asked to see how many apples they could gather and put 
into the basket; in other words, to see how many words they 
could read. When a word was recognized, it was erased. Again, 
it has been successfully used in teaching number, form, etc. 
See also the ladder, plate 10. 

Stroke 1 is made by placing the chalk upon the board in a ver¬ 
tical position and then drawing it across the board, varying the 
pressure frequently so as to give the effect seen in the basket. 
The strokes at 2 are produced in the same manner. Here the 
light spots in the stroke are alternated, coming beneath the 
dark spots in the stroke above. Try a number of these in the 
curving direction suggested at 2. 

In making a sketch of a basket, draw lightly the elliptical top, 
then add as many strokes as are necessary to give the desired 
depth, and lastly add the handle. Strokes 3, and the ellipse 
below them, show the manner of producing this. Place the 
chalk horizontally at the top of the basket, decide where the 
handle should end at the opposite side, then draw upward with 
a heavy stroke, across the top lightly, then downward with a 
slight pressure. Keep the chalk in a horizontal position through¬ 
out the stroke. Add a line of accent to the nearest edge of the 
handle. 

The tree trunk back of the basket is drawn with strokes 1 
and 5, plate 2, the stroke being curved a bit at the lower end. 
The grass is added by the use of stroke 5, which is made by 
using a short piece of chalk, and by moving the hand rapidly 
up and down. A little accent may be used occasionally. 

In drawing the apples study strokes 4. These are made 
like those on plate 2, by accenting with the end of the chalk. 
Use a very short curving stroke first toward the left,then toward 
the right. Add stems, etc., with the point of the chalk. 











BLACKBOARD SKETCHING 


PLATE 4 

Lesson 4 introduces a stroke entirely different from those 
already given, and one which will require more practice in order 
to obtain the desired results and to apply it readily in quick 
sketches. 

Stroke 1 is made by placing the chalk in a horizontal posi¬ 
tion upon the board, and drawing it downward, gradually twist¬ 
ing it to the vertical position. Stroke 2 is the exact opposite. 
Place the chalk vertically upon the board, draw it downward and 
gradually twist it to the horizontal position. 

In drawing strokes 3 and 4, combine those already given at 
1 and 2. For 3, place the chalk vertically, draw it downward, 
quickly twisting it to the horizontal position ; then, without 
removing it from the board, bring it back to the vertical posi¬ 
tion. Try stroke 4, beginning with the horizontal position of 
the chalk, twisting it to the vertical, then back again to the 
horizontal position. 

Stroke 5 shows a curving effect produced in the same man¬ 
ner as stroke 3, but with a curving instead of a vertical ten¬ 
dency. 

In drawing the cat tails, use strokes 1 and 5 on plate 2. 
These are curved a bit at the upper and lower ends ; keep some 
of them very delicate, others quite white. The leaves are drawn 
by using strokes 1, 2, and 3, on plate 4. Let the tone desired 
in the drawing govern the pressure used upon the chalk. 

The palms are drawn by using the same strokes. Draw first 
very delicately with the side of the chalk, then with strokes 1, 2 
or 3 add stronger strokes for accent. 









BLACKBOARD SKETCHING 


PLATE 5 


A new stroke will be introduced for this lesson. It is a reg¬ 
ular or irregular curve as the case may require, and is useful in 
all sorts of nature drawing. 

First try the long curving stroke No. i, accenting with the 
left end of the chalk. Reverse the stroke, accenting with the 
right end of the chalk. Now try No. 2, making a series of 
nearly parallel strokes, keeping the accent at the left. 

The pumpkin is drawn by combining these strokes, varying 
the pressure to obtain the desired tone, and accenting with the 
left end of the chalk, then reversing the stroke for the right 
side of the pumpkin. Add the stem by the use of a few irreg¬ 
ular strokes and a bit of accent. 

Stroke 3 shows one which may be used in drawing any large 
leaves, such as squash, grape, etc. Try this in a great variety 
of positions, always keeping the accent for the edge of the leaf. 
Apply this in drawing the grape foliage in the illustration below. 
Draw first the mid-rib, then represent the surface of the leaf 
by using stroke 3. The grapes are added by the use of stroke 
4, which is stroke 1 very much reduced. Let the grapes be 
drawn with a short, quick twist of the chalk. Lastly add stems 
and accent. 

Almost any vegetables may be drawn after a little practice of 
the strokes given at 5. These are made exactly like stroke 1, 
with changes in direction. Try a single onion or carrot, then 
a group of vegetables. Do these as simply as possible, obtain¬ 
ing the effect, if you can, with three or four strokes, then add 
a few touches for details. 







BLACKBOARD SKETCHING 


PLATE 6 


The strokes given in this lesson, although not used as fre¬ 
quently as those previously given, are nevertheless valuable. 

No. i shows the manner in which the stroke is produced. 
Place a piece of chalk in the position indicated by the line 
below the stroke, then swing the chalk rapidly back and forth, 
shortening the stroke and gradually twisting the chalk to the 
vertical position. No. 2 is produced in the same manner. 
Place the chalk obliquely as indicated, and keep the movement 
oblique, shortening the stroke, and twisting the chalk gradually 
to the horizontal position. 

The fern is drawn by first sketching a few main lines, No. 3, 
then upon these apply the strokes given as shown at No. 4. 
Hardly touch the board at first, keeping the tones very gray ; 
then add a few white ferns as in the sketch. 

No. 6 illustrates the same stroke used in a much bolder 
fashion and in a generally horizontal direction. After this is 
done, accent here and there with a much shorter stroke, and 
add the trunk and branches. 

Study the trees given on plate 12 in connection with this, 
and notice the variety of strokes given for the different trees. 










BLACKBOARD SKETCHING 


PLATE 7 


In this lesson we will put to practical use such strokes as 
those given in the first few lessons. The sketches of this 
character are often valuable in the schoolroom when studying 
the mountains, the hillside, the river, etc., and the teacher who, 
with a few strokes of the chalk, can interpret to her class the 
thing about which they are studying, and can make an illustra¬ 
tion which the whole class can see and appreciate, has a gift 
which is invaluable. 

Experiment with the strokes given at i, 2, and 3. As in 
previous lessons the side of the chalk is used, and the accent is 
with one end. See if you can give the effect of snow, of rocks,, 
of a bright day, or of a cloudy day, by varying the tone or 
pressure upon the chalk. Sometimes use the chalk for sky, 
leaving the board for the hills, and again reverse the stroke, 
letting the sky remain gray and using the chalk to represent 
the mountain, accenting with the upper end of the chalk. No. 
3 is a combination of 1 and 2, the chalk being used in both sky 
and mountain. In No. 4, the eraser or a soft bit of cloth is 
used to take out the trees, after the chalk has been applied. 

In the sketch given, see if you can combine the suggestions 
given above. A few short curving strokes with the usual 
accent at one end of the crayon will give the rocks, and the 
irregular horizontal and zigzag strokes already given will produce 
the ripples in the river, and the foreground. 









BLACKBOARD SKETCHING 


PLATE 8 


In the exercise illustrated on the opposite page you will find 
combinations of the strokes already given, but they are varied 
somewhat in rendering these drawings. Any sketch or object 
to be drawn should dictate the kind of stroke to be used and the 
manner of handling the chalk, the pressure, accent, etc. 

For the larger sketch, draw first the tree trunks as shown at 
No. i. Let the pressure be as gentle as possible, the chalk 
hardly touching the board. After these are massed in the back¬ 
ground, erase a triangular spot for the wigwam, and with the 
oblique strokes 2, accented first at the left, then at the right, 
obtain the general form required. Stroke 3 is added at the top 
of the wigwam, and a bit of charcoal is used for the dark, tone 
at the opening. Now add the decorative details. 

In order to complete the sketch, use stroke 4 for the fore¬ 
ground. It is similar to those previously used, and is made by 
an irregular, up-and-down movement of the chalk. 

A pond, a canoe, or other suggestive detail may be used in 
this sketch, and applied to the work in history, geography, lan¬ 
guage, etc. 

Try the second little drawing, using similar strokes in a very 
simple manner. 














BLACKBOARD SKETCHING 


PLATE 9 


Lesson No. 7 gave a few suggestions useful in geography and 
landscape work. This time we will try another type which will 
doubtless be found equally useful. 

Stroke 1 is a horizontal stroke accented at the lower end of 
the chalk by a decided pressure. This will readily give a tone 
for the sky and a definite line for the horizon. 

At No. 2, the sky is drawn in the same manner, and charcoal 
or black chalk is introduced for the ocean. These touches are 
made with the side of the chalk, in irregular, wavy lines. 

Spray may be represented by massing a little chalk near the 
rocks or beach, and by rubbing into the body of chalk, gradually 
blending it into the rocks or water. For this use the tip of the 
finger or a soft bit of cloth. See No. 4. 

To obtain a sketch like that given in this lesson, first draw 
the horizon, then the wavy strokes for the sea. The cliffs or 
rocks are drawn by using strokes like those at No. 3. They 
are irregular strokes accented with one end of the chalk. Here 
again the charcoal is useful in adding crevices or shadows in the 
rocks. Erase spots for the boats and add details. 

The effect of a beach may be produced by using the same 
broad stroke as in the sky, accenting with the upper end of the 
chalk to give the margin of the beach. Add a few ripples and 
pebbles, or a bit of seaweed, using the point of the chalk. 

The sketch given on this plate was used as an illustration for 
literature. 

A heap of bare and splintery crags 
Tumbled about bv lightning and frost. 

— Low ell. 










BLACKBOARD SKETCHING 


PLATE 10 


The sketch on plate io was suggested for geography. It is 
very simple and requires only strokes already used a number of 
times. 

The sky and hill are represented by the use of stroke i. A 
long piece of chalk placed vertically, the accent at the lower 
end giving the outline of the hill. 

The marshy land is represented by a similar stroke carried in 
a horizontal direction. The board is left free from chalk in the 
case of the hill and the water. The village in the distance is 
added with charcoal, and the reflections in the water with little 
touches of chalk or charcoal. 

After this is done, erase spots for the haystacks, and use 
stroke 3. This is a very .simple curving stroke with the side of 
the chalk, the accent being on the left end of the crayon ; then 
a reverse stroke accenting with the right end of the chalk. If 
shadows are desired they raay be added with charcoal or black 
crayon. Observe that the tops of all the haystacks are on a level. 

The sketch with the ladder was made for primary reading, 
different words being written on the different steps of the lad¬ 
der, the children seeing how high they could climb ; in other 
words, how much of the lesson they could read. If they read 
all of the words they could climb to the top of the haycock. 














BLACKBOARD SKETCHING 


PLATE 11 


Here again are very simple strokes which require only a little 
practice for accomplishment. 

The distance is represented as in the last plate, and the grass 
and meadow are done in the same manner as the marshy land 
on plate io ; i and 2 show the strokes. A few up-and-down 
touches with a short piece of chalk are added in the immediate 
foreground. 

The fence is drawn by the use of the strokes given on plate 
1, and shown at 3 on this plate. 

After drawing the field and the fence, erase for the tree trunk 
and tree, and add the foliage. This is done with a short piece 
of chalk and a quick back-anTforth movement. See plates 6, 
12, and 24 for other trees and strokes. The skeleton of the 
tree, as shown below the drawing, may be represented first, 
then the foliage added. 

This plate will be foiind useful in the early spring, as it shows 
the tree in winter condition, the pussy willows, and the tree in 
summer. 

Spots 4 show the treatment of the “ pussies.” A very short, 
curving stroke of the chalk is first made ; then the finger is used 
to give the downy, soft effect. 

Sketch a few delicate lines for the stems, add the catkins as 
described above, and then finish the stems with black and 
white chalk. 









BLACKBOARD SKETCHING 


PLATE 12 


In sketching trees, one should bear in mind the general atti¬ 
tude of the tree, its characteristic form and branching, and the 
stroke which will best produce these. 

One teacher can best draw the tree by using such strokes as 
those at No. i to give the trunk and branches, then by applying 
the stroke for the foliage; while another teacher does better 
work by massing the tree, as at No. 2, then adding trunk, 
branches, and details. Either method is good. 

The strokes above the trees show the manner of representing 
the foliage of these particular trees. See plates 6, 11 and 
24, for other trees. 

Apply either of the methods described above, using half a 
stick of chalk placed flat upon the board and moved rapidly in 
the direction suggested by the stroke. For the elm it is a curv¬ 
ing motion ; for the poplar, up and down ; for the pine, back and 
forth; for the oak or apple, an irregular and slightly slanting- 
stroke, etc. 

After the mass of the tree is drawn, accent here and there 
with the same stroke, and add branches and details. 

When working upon a gray background or against a light tone 
for the sky, black chalk or charcoal may be used in the manner 
described above. 











BLACKBOARD SKETCHING 


PLATE 13 

As stated in the introduction, among other requests have 
come many for suggestions for calendars. Whatever the month 
may be, draw a simple calendar large enough to be seen by the 
children. If a picture of some sort is desired, draw something 
which will be appropriate to the month and arrange it in a verti¬ 
cal panel at one side, or a horizontal panel above or below the 
calendar. The goldenrod on plate 12 will show what is meant 
by this arrangement. 

All the strokes here given have been drawn before and are 
easily applied. Strokes 1 are given for the goldenrod, strokes 2 
for the rose hips and leaves, 3 for the roses, 4 for the thistle, 
and 5 for the daisy. With a few light touches of the chalk in¬ 
dicate the growth and position of the specimen ; then apply the 
strokes for drawing the surface of flowers and leaves. 

In sketching the thistle the pointed details are added with the 
point of the chalk. 









BLACKBOARD SKETCHING 


PLATE M 

At No. i is a very simple stroke made by placing a piece of 
chalk in a vertical position, and drawing it across the board in 
any desired direction, breaking it at regular intervals by lifting 
the chalk from the board. This stroke is useful in representing 
tiles, brick, stone, or any broken surface. 

In this particular sketch a horizontal stroke is first made for 
the mantel, then the vertical strokes for the surface of the walls ; 
then the bricks are added by the use of the strokes given at i. 
Erase the space necessary for the fireplace, and add black chalk 
or charcoal, leaving the board where the fire is to be rep¬ 
resented. 

A few gray strokes with the side of the chalk will indicate 
the logs, and the use of stroke 2 will add the fire and smoke 
Stroke 2 is made by massing a little white chalk, then by rub¬ 
bing into it with the finger, gradually blending it into the tone 
of the blackboard. The details, andirons, etc., are easily added. 

If this is used as a Christmas sketch, strokes 3 will help in add¬ 
ing some of the toys. They are all drawn with the side of the 
chalk, the direction of the stroke being indicated in the sketches. 

The sketches in this and the following lesson may be used in 
our work in history, or to illustrate the type of house used by 
our early settlers. The sketch on plate 15 is supposed to be 
Washington’s home, and that on plate 16 is Lincoln’s birthplace. 



















BLACKBOARD SKETCHING 


PLATE 15 


Study the horizontal lines at No. i. Though not like those 
in the sketch below, they show how any such cabin may be 
drawn. Try these strokes, accenting with the upper end of the 
chalk while making the horizontal line. Should one side of the 
building be lighter than the other, obtain the desired effect by 
varying the pressure upon the chalk. 

No. 2 is made by the use of a long piece of chalk, and by 
keeping a smooth, even tone throughout the stroke. 

Stroke 3 is made in a similar manner to that on plate 14 in the 
drawing of the bricks. Make it in a rather irregular fashion, 
and add little touches of detail with chalk or charcoal. 

Stroke 4 is made with a very long piece of chalk, the pressure 
being quite strong upon the lower end. This will give a good 
tone for the sky and serve as an outline for the roof of the 
building. 

In making this sketch, take a short piece of the chalk and use 
a stroke like No. 1, beginning with a very short line, and in¬ 
creasing the length of the strokes till the body of the house is 
reached, then keep the lines of uniform length to the ground. 

After the body of the building and the sky are represented, 
erase the logs where the chimney, windows, or door are to be 
drawn. Erase also whatever chalk may be upon the board where 
the trees are desired, and apply the irregular touches already 
given in drawing trees. Use chalk or charcoal, according to the 
tone desired in trees, windows, and chimney. See stroke 3. 
See strokes on plate 16 and plate 12. 














BLACKBOARD SKETCHING 


PLATE 16 


Study the strokes given on the previous page, plate 15, for 
suggestions for sketching this cabin. Those at No. 2, No. 3, 
and No. 4 will be found helpful. 

Use stroke 4, plate 15, for the outline of the roof and the 
sky, and add the smooth vertical or horizontal strokes for the 
sides of the building. Accent here and there with the point of 
the chalk and add details in a similar manner, but avoid a defi¬ 
nite outline. Let the difference in tone make whatever outline 
is necessary. 

After erasing the spots for doors and windows, add the strong 
dark tones with a bit of charcoal. The details at 1 and 2 on 
the plate will show how these are made. No. 3 shows the treat¬ 
ment for the roof. 

After erasing for the trees, add a little charcoal and chalk, 
using the strokes given in the lesson on trees, plate 12. The 
grass and the details in the foreground may be added last. The 
sketch will readily show the strokes necessary and the move¬ 
ment of the hand in making these strokes. 
















BLACKBOARD SKETCHING 


PLATE 17 


Whenever I have made a sketch of this kind it has always 
given great pleasure to the children, and proved of more or less 
value*to the teacher of history, or in story-telling in the lower 
grades. 

Stroke i illustrates the treatment for the sky and the horizon. 
A few soft touches with the side of the chalk will indicate clouds. 
Blend the white tone into the gray of the blackboard. The 
chalk is held vertically and drawn across the board horizontally. 

Next erase a spot or two for the sails and hull of the ship, and 
apply stroke 2. This is made by placing the chalk in an oblique 
position and drawing a curving stroke downward, the end of the 
chalk giving the outline of the sail. In the drawing at the left 
a graded stroke was used, the eraser making the edge of the sail 
at the left and the chalk at the right. 

Stroke 3 is desirable in representing the ocean. It is made 
by placing the chalk vertically upon the board and making a 
long, sweeping stroke, accented with the upper end of the chalk. 
In these sketches charcoal was used for the dark streaks in the 
water. 

In drawing the hull of the ship, try stroke 4, using a short 
piece of chalk or charcoal. The chalk is placed vertically and a 
curving stroke is used with no particular accent. Add details 
with touches of chalk or charcoal. 














BLACKBOARD SKETCHING 


PLATE 18 


On plate 18 are suggestions for the month of March, or for 
geography, history, or occupations and habits of the people. 

Apply a few delicate, horizontal and curving strokes to the 
board ; then with a soft piece of cloth erase for the distance, as 
at No. i. Use stroke 2 for the sides of the windmill, stroke 3 
for the wings, and touches of charcoal for the windows. 

Stroke 5, plate 3, will help in representing the foreground. 
Use the chalk very delicately, accenting here and there with 
stronger touches, and a vertical stroke now and then for the 
reflections in the water — stroke 4 

The strokes illustrated on plates 2, 3, and 5 will be useful in 
sketching the shoes and other objects. Remember to allow the 
pressure upon the chalk to indicate the outlines of objects, and 
never to add definite marks with the point excepting for neces¬ 
sary details, or high lights. 






BLACKBOARD SKETCHING 


PLATE 19 


This plate was planned as a review lesson, as well as to give 
illustrations which teachers might use for a great variety of pur¬ 
poses. All these strokes have been given before and are easily 
applied. 

For the turkey, sketch lightly a circle ; then with the side of 
the chalk add broad, gray strokes. See No. i. After this is 
done, add short touches with the side of the chalk,'for the wings, 
legs, feathers, etc. 

Stroke 2 was given on plate 2, and with the addition of the 
little slanting and curving strokes here given will produce the 
lighthouse. This will perhaps be useful in connection with 
plate 9, in teaching the seacoast. 

Strokes 3 and 4 are similar to those given on plate 5. They 
are made by the use of curving strokes with the side of the 
chalk, the accent being upon the end forming the outline. This 
stroke is frequently used, the object to be drawn dictating the 
direction of the stroke. Apply these strokes in drawing the rat, 
the chickens, the mushrooms and the frog. 

In the tree sketch, a background of gray is first drawn with 
the side of the chalk ; then the strokes given on plate 6 are ap¬ 
plied with charcoal, and the snowflakes added with strong touches 
of white chalk. If the candles are desired, omit the snow and 
use tiny strokes like those at 5. 

No. 6 is desirable in representing the nest. After 6 is drawn, 
add stroke 4 for the eggs and finish the nest by using strong 
touches with the point of the chalk. 






BLACKBOARD SKETCHING 


PLATE 20 


The strokes on plate 20 are so well defined that it hardly 
seems necessary to describe them. For 1 a short piece of 
chalk is used, the side of the chalk giving the width of the line. 
At 2 the stroke is similar, the accent being at one end of the 
chalk. At 3 the stroke is slightly curving, the chalk being 
placed vertically, and the accent being upon the upper end of 
the chalk. No. 4 is drawn by placing the chalk vertically upon 
the board, drawing it downward very quickly and twisting it to 
the horizontal position. Apply these strokes in sketching the 
lobster. First use stroke 3, then touches like 2 ; afterward 
strokes 1 and 4 for details. 

No. 5 indicates the strokes first used in sketching the shells. 
In drawing the outside of the nautilus, use a long piece of chalk, 
and with a curving stroke accented with the end, form the outline. 
With strokes similar to those at 2, sketch the light streaks in 
the shell, and add dark details with charcoal. Use the tip of 
the finger in softening the tones here and there. 

In drawing the section, sketch first the spiral curve, then the 
blended strokes connecting the outer with the inner curves of the 
spiral, and add charcoal for shadows. 

The oyster shell is drawn by the use of the lower stroke at 
No. 5. Make the stroke, accenting a little at the left end of the 
chalk ; then reverse the stroke, accenting with the right end, and 
add details with chalk and charcoal. 





BLACKBOARD SKETCHING 


PLATE 21 


The strokes and touches used upon plate 21 are more delicate 
than any previously given, though similar in character. No. 1 
is drawn with the side of the chalk, the accent being with the 
left end. Allow the hand to tremble a bit and the texture de¬ 
sired is more readily obtained. Stroke 2 is produced in the same 
manner. After these are drawn add the shades, stems, and 
leaf with charcoal, and high lights with touches of white chalk. 

Stroke 3 is exactly like that at No. 2, plate 20, though drawn 
with a much smaller piece of chalk. A series of these strokes, 
with the addition of touches with the charcoal and point of the 
chalk, as indicated in the sketch, will produce the caterpillar. 

Strokes 4 and 5 are valuable in sketching a butterfly or moth. 
They are gray strokes with the side of the chalk, the pressure 
being upon the end forming the outline. In work of this kind 
study nature very carefully, as no sketch or copy can do what 
nature can for the teacher. After the general form of the but¬ 
terfly is drawn with these light gray strokes, add the details, 
using touches of chalk or charcoal, and occasionally blending 
them with the tip of the finger. 





BLACKBOARD SKETCHING 


PLATE 22 


A very few lines will often indicate the pose or action of an 
animal. Try lines similar to those at i ; study other animals 
and try a few characteristic lines. See No. i for the squirrel 
and for the fish. 

After this is done, try 2 without sketching the lines with the 
point of the chalk, but by using the side, as in previous sketches. 
To finish the sketch add the few details necessary, as shown in 
the other drawings. 

The strokes used in these sketches are given on several other 
plates. They are produced by using the side of about two- 
thirds of a stick of chalk, and by accenting or letting the pressure 
be greatest at the end of the chalk which is to form the out¬ 
line. This type of stroke is perhaps most evident where the 
pressure was upon the left end of the chalk, as in the squirrel’s 
back. 

See also stroke 4, plate 3, and strokes upon plate 5. 















BLACKBOARD SKETCHING 


PLATE 23 


The strokes used in the birds are exactly like those described 
in the previous lesson. 

Sketch first an egg-shape, No. I, using half or two-thirds of 
a stick of chalk, and pressing a bit upon the outer end, letting 
the stroke blend into the board. 

Add to this a few blended strokes representing the form and 
position of head, tail, and wing. The sketches at 2, 3 and 4 
indicate upon which end of the chalk the pressure should come. 
Be careful to keep the delicate gray or middle tones. 

After such drawings as those at 2, 3 and 4 are made, then 
add the characteristic details with the chalk and charcoal. It 
will be seen by studying these finished drawings that only a few 
touches are necessary to complete the sketches. 

In order to obtain a contrast between the background and 
the head of the bird in the lower sketch, a little chalk was 
massed upon the board as a background. See plate 12. 















BLACKBOARD SKETCHING 


PLATE 24 


These sketches are drawn as illustrations for literature, but 
would be quite as useful in some other studies. 

The strokes at i, 2 and 3 are those used in the tree sketch ; 
1 is obtained by two strokes of the chalk, placed vertically upon 
the board and accented by a pressure upon the lower end. This 
gives the sky and the hills in the distance. The use of the 
eraser and a few blended strokes like those at 2 will help in 
sketching the tree trunks. See plate 2. After these are done, 
add stroke 3, and with it mass the foliage. See suggestions on 
plate 12. The point of land in the distance and a few of the 
branches are added with charcoal. 

Study the lesson on plate 23 before sketching the sparrow. 
Stroke 4 is made with a single broad mark of charcoal, and the 
addition of tiny touches with the chalk. The branch is drawn 
in a similar manner, and the background is added by a few soft 
and delicate touches with the side of the chalk. 










BLACKBOARD SKETCHING 


PLATE 25 


This plate was used as an illustration for Longfellow’s “ Flower- 
de-luce.” The pond-lily may be used in nature study or as an 
illustration for some poem. 

The strokes necessary or useful in drawing these bits are 
shown at No. i, No. 2 and No 3. At No. 1 the chalk is placed 
in an oblique position, drawn gradually downward, and at the 
same time twisted to the horizontal position at the middle of 
the stroke. Try this in a great variety of positions. The spots 
produced will be found useful in much of the flower and leaf 
drawing. Apply these in the fleur-de-lis. 

The strokes at 2 for the leaves were given and described on 
plate 4, and may be appropriated wherever reeds or grasses are 
to be drawn. 

Stroke 3 is simple, yet often found troublesome by pupils. 
Place the chalk in a vertical position, draw it quickly downward, 
twisting it to a nearly horizontal position. Let the accent be 
at the upper end of the stroke. Try a number of these strokes, 
letting them meet at the centre of the flower. In making the 
drawing of the pond-lily, accent the nearest petals. 

The reflection in the water, and reeds in the background are 
obtained by delicate vertical strokes, crossed in the water by 
occasional horizontal touches. Use simple curving strokes for 
the lily pads. 
















BLACKBOARD SKETCHING 


PLATE 26 


Here is given another literature illustration, which is drawn 
with such strokes as those indicated in the upper part of the 
plate. 

Stroke I has been described many times already. After this 
is drawn indicate the distance by the use of a few touches with 
charcoal, and the water with a delicate line or two of chalk. Let 
the strokes be horizontal. 

The rocks are represented with such strokes as No. 3. See 
also plate 9, stroke 3. Accent here and there for the light 
touches, and add bits of charcoal for the dark. 

Stroke 2 is drawn by placing the chalk in a vertical position, 
and drawing it in the desired direction with a rather irregular or 
uneven stroke. See stroke 3, plate 15. When the strong, 
bright tones are desired, accent with the chalk, and when the 
gray tones are necessary, hardly touch the board. The windows 
are added with strong strokes of charcoal. 















BLACKBOARD SKETCHING 


PLATE 27 

This plate was planned especially for arithmetic lessons, as it 
shows in the sketches the various processes through which the 
cotton passes before reaching the retailer, thus suggesting a 
number of practical problems. It may be used quite as well in 
geography, history, and nature study. 

Spot i is produced by massing a bit of chalk, then by rubbing 
it into the desired shape by the use of the finger tip. The pod 
is drawn with a short stick of charcoal, used in the same man¬ 
ner as the chalk. 

No 2 shows the stroke for the sky and horizon, and has al¬ 
ready been described in many other lessons. 

To produce the effect shown at No. 3 use the side of a short 
piece of chalk, and with a rather irregular stroke draw the twigs 
and stems. Accent the spots for the cotton balls. 

In the other small sketches the strokes are so evident that 
they hardly need description. A white, smooth sky, erased 
where the mills and chimneys appear, will produce the effect in 
the lowest drawing. A little charcoal may be added for the 
darkest tones, a stroke of the eraser for the smoke, and little 
touches of chalk for the windows. 



















BLACKBOARD SKETCHING 


PLATE 28 

These sketches were also suggested for problems in arithme¬ 
tic. The problems relating to lumbering, measurement, and 
commission. 

No. i illustrates the beginning of a forest sketch. With a 
single stroke of the chalk, accented at the lower end, draw the 
sky. With a second more delicate stroke show the distance, 
then with a few quick, nearly vertical strokes with the eraser 
show the positions of the trees. Later with chalk or charcoal 
and the use of such strokes as those given on plate 2, and at 
No. 3 on this plate, add the shading in the tree trunks. 

No. 2 shows the strokes useful in drawing the camp, the 
wood pile, or the lumber. These have already been given in 
such sketches as those on plate 1 5. 

The sketch of the house in the original had the dimensions 
marked upon it, and the pupils were to find the shingles required 
for the roof, the clapboards for the walls, etc. 

Before trying this sketch study plates 15 and 16 for strokes 
and details. 










BLACKBOARD SKETCHING 


PLATE 29 


The accompanying plate was taken from a lesson in a first 
grade. The little boy was dressed in an impromptu costume 
of cotton batting, and the background hastily sketched by the 
teacher. 

The horizon was drawn as on plate 9, then a few soft oblique 
strokes were added to the sky. The shore was drawn with irreg¬ 
ular back-and-forth strokes, as in many of the previous sketches, 
and a sheet was tacked to the board in order to obtain the white 
foreground. 

An almost vertical stroke accented with the end of the chalk 
was used in drawing the icebergs, and a few strokes of charcoal 
were added. 

The huts were drawn with a curving stroke accented with 
the upper end of the chalk, and they were finished by applying 
stroke 2, plate 3, and adding a few details with the point of the 
chalk. 

Any teacher can easily arrange such backgrounds and cos¬ 
tumes with the simplest material at hand, and in this manner 
add essentially to the interest and value of a lesson. A Japan¬ 
ese Day, An Indian Entertainment, A Soldiers’ Camp Ground, 
A Lumber Camp, and many others, are easily arranged. 



































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AUb 12 1907 



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